pet sematary final trailer

There was one part where Rachel was asking if the Sematary falls on their property line. Was there ever a tangent where Rachel tries to get rid of the Pet Sematary?

We never did. One of the things we felt very much was we wanted Rachel to go through a transformation. At first, it’s something scary. Then it’s something a little bit more and something more and something more, so it feels like an escalation. Later on in the story, it’s super hard to go back. It becomes distracting to the storytelling.

Did you have any ratings issues with the MPAA for the gore and violence?

No. We knew we were never going to get anything but an R so our expectations were for an R and we got it. I don’t think it was ever going to be any less. I don’t remember that they asked us to do anything. I think the question was going to be more what was going to be the language. In that respect, we thought they were fair when we saw what they gave us so we were fine with it. The idea of doing anything but an R rated version of this thing would have freaked me out.

No, not that it would be PG-13 but you might have to cut things just to get an R.

We might have but no, they felt that we were an R rated movie and nothing more, thankfully. It would’ve been a bummer because between our writer and our directors and everybody on the movie came up with some pretty cool, trippy stuff. One of the things I love about some kinds of horror is you can get super surreal. I love that. When we did 1408 it got super surreal. I find that more unsettling when it’s not in our world yet it’s people going through our world so I dig that part of it.

Right, the door in the woods was really freaky.

Yeah, trippy, right? You’re just like what the f*** is going on here? To me, I like that. It’s one of the reasons that keeps me coming back to particularly psychological horror because you’re playing with somebody’s mind. You’re not necessarily saying where’s the guy with the knife coming? That’s not a criticism of that. It’s just different. To me, that’s what’s super interesting, the mind games you can play with the people so they’re not just scares. Like you said, you went right to the door. It’s weird. What the hell’s going on? I dig that a lot.

Was it up for debate whether or not you’d have a cover of the Ramones song?

Yes. I’ll say there were two kinds of thought. We always wanted to try it but we also thought given that we’re trying new things, what would you do if you didn’t know The Ramones was on the movie, what would you do? We tried some different songs. We tried things from The Doors. We tried older, we tried newer and it just kept coming back to The Ramones song. Then it was about Paramount has a really great music guy named Randy Spendlove who turned us on to the band. Then of course as soon as you hear it, you go, “Oh, we should’ve never even tried anything else.”

Both movies go to such a dark place, I think we need that rousing hard rock song.

I think you’re right. That’s why we tried a lot of different versions of, let’s call it, that big kind of beat. Ultimately, I guess it was destiny.

They did a Pet Sematary 2 in 1992, but you’re thinking a prequel instead?

Honestly, everybody asks me are we doing a sequel and my answer was we never really thought about it. We were really just trying to make a good movie and we were making a lot of pretty bold decisions, so we were really focusing on just making it. But it would seem to me that if you were going to go down that path, the interesting thing is stay with the source material and go and do a prequel, because there is so much information in the source material prior to it. Do we get to meet young Jud? There’s a lot of opportunity I think that we don’t have to make up out of whole cloth. As fans of the book, I know for me I’ve increasingly liked the idea that that’s how we would approach it.

There are endless possibilities for period pieces.

Yeah, and one of the things we did try to get in is we tried to get the Micmacs in. At one point we had written an opening scene where you see them flee and you’re left with some information but not too much information about the why of it. Less about establishing what it is they’re running [from] and more establishing what is the thing that’s freaking them out. Again, there’s so much you’ve got to play out with the central four characters, especially the three of them really, but all four of them that too often when we looked at alternatives we kept feeling like we’re kind of getting away from the point of the story, so it drove us back.

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